Living in the Material World, George Harrisons hochgelobtes zweites Soloalbum mit Originalmusik nach
der Auflösung der Beatles im Jahr 1970, feierte kürzlich sein 50-jähriges Jubiläum. Mit Texten, die seine
fortwährende Auseinandersetzung mit spirituellen Themen unterstreichen, fand das Album großen Anklang
beim Publikum. Nur 5 Wochen nach seiner Veröffentlichung im Mai 1973 belegten sowohl die LP als
auch ihre Single „Give Me Love (Give Me Peace On Earth)“ gleichzeitig die Spitzenplätze der US-Albumund Single-Charts. Bei der Veröffentlichung beschrieb Rolling Stone es als „Pop-Klassiker“, ein Werk, das„als Glaubensartikel allein dasteht, wunderbar in seiner Ausstrahlung“. Unter der liebevollen Aufsicht von
Dhani und Olivia Harrison wurde Living in the Material World nun für eine atemberaubende Suite von
Veröffentlichungen zum 50. Jubiläum vollständig von den Originalbändern neu abgemischt. Der neue Mix
wurde vom dreifachen GRAMMY®-ausgezeichneten Toningenieur Paul Hicks neu abgemischt und verleiht
dem Album ein klangliches Upgrade, das einen Sound liefert, der heller, satter und dynamischer ist als je
zuvor.
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Living in the Material World, George Harrisons hochgelobtes zweites Soloalbum mit Originalmusik nach
der Auflösung der Beatles im Jahr 1970, feierte kürzlich sein 50-jähriges Jubiläum. Mit Texten, die seine
fortwährende Auseinandersetzung mit spirituellen Themen unterstreichen, fand das Album großen Anklang
beim Publikum. Nur 5 Wochen nach seiner Veröffentlichung im Mai 1973 belegten sowohl die LP als
auch ihre Single „Give Me Love (Give Me Peace On Earth)“ gleichzeitig die Spitzenplätze der US-Albumund Single-Charts. Bei der Veröffentlichung beschrieb Rolling Stone es als „Pop-Klassiker“, ein Werk, das„als Glaubensartikel allein dasteht, wunderbar in seiner Ausstrahlung“. Unter der liebevollen Aufsicht von
Dhani und Olivia Harrison wurde Living in the Material World nun für eine atemberaubende Suite von
Veröffentlichungen zum 50. Jubiläum vollständig von den Originalbändern neu abgemischt. Der neue Mix
wurde vom dreifachen GRAMMY®-ausgezeichneten Toningenieur Paul Hicks neu abgemischt und verleiht
dem Album ein klangliches Upgrade, das einen Sound liefert, der heller, satter und dynamischer ist als je
zuvor.
Detroit native Jackie Wilson aka "Mr. Excitement," left jump blues and R&B group The Dominoes in 1957 to pursue a solo career. The following year he released this, his debut LP, a rollicking collection of orchestrated pop R&B of the highest caliber. Including the hit "Reet Petite," half the songs on this LP were written by Berry Gordy, Jr. nearly two years before he founded Motown, which was partially funded by songwriting royalties Gordy earned writing hits for Wilson. A fine debut from one of the great soul and R&B singers of the late '50s/early '60s, a man who counted among his fans and followers no less than James Brown, Michael Jackson, and The King himself, Elvis Presley.
For number 83 in the Brazil 45 series we have a real treat. Di Melo's self-titled debut album has long been collectible for its irresistible Brazilian-funk sound, pleasing the Brazilian, B-Boy breaks, funk collectors, and sample hunters alike. With original copies for the album now fetching crazy sums, we felt these tracks needed another moment in the sun for all to enjoy.
For this release we have selected two of our favorite cuts from this cult album, ‘Kilariô ' & ‘Pernalonga'. Coincidentally these two gems were released on Odeon Records in 1975 as a rare promo campacto (a Brazilian 7", which plays at 33rpm). 'Kilariô' is a pure Brazilian-soul classic. All the right elements gel together, whilst Di Melo works his relaxed vocal magic over the top. ‘Pernalonga', with its catchy guitar and horns intro, loose break-beat drum, has the feel-good factor which some may recognize as one of the samples behind N.A.S.A featuring David Byrne, & Chali 2na's 'The People Tree' from 2009.
Di Melo is still recording to this day, releasing an album with Cotonete on Favorite Recordings in 2019 - a true don!!!
Repress!
You know it's going to be a heavy record when DJ / collector Mr Thing asks you to keep a look out for a copy on your next digging trip to Brazil. Add on top of that, being sampled by Madlib on the track 'Curls’ on his Madvillain album!
Taken from Waldir Calmon's 'Waldir Calmon E Seus Multisons' album on Copacabana (1970), from looking at this unassuming record cover featuring a middle-aged man sporting an impressive pair of glasses you wouldn't expect it to become the fabric to one of the songs from the iconic 'Madvillain’ album. But… like many things in life, you shouldn’t judge a book by its cover. 'Airport Love Theme’, like its name suggests, falls into full-on lounge territory. It’s feel-good music made to be the soundtrack for a utopian world that never really was. Yet behind the silky-smooth groove is an addictive earworm waiting to be heard.
'Afro Son' taken from the same album, pushes things in a different direction towards a sound that is more firmly rooted in the Brazilian tradition. This quirky 60's-breakbeat-funk groove is reminiscent of French artist Jean Jacques Perrey's 'E.V.A.', also from 1970, in its melody and backbeat, where the Moog synthesizer of Perrey is replaced with a more orchestrated sound by Calmon. This track is magical, cinematic and breakbeat-laden with a hidden unknown exoticism.
Waldir Calmon had an active career in music working from the '50s right up until his passing in 1982. His career started early, forming his first ensemble at the age of fourteen, originally working in bands in nightclubs and writing jingles. He progressed in the early '50s to a long-running career working in television. In addition to his television work, he had success with his recording vocation, mixing in the same musical circles as greats such as Tom Jobi, João Gilberto and Doris Monteiro.
• Next installment in BRAZIL 45 Series.
• Sampled by Madlib on the track ‘Curls’ from his ‘Madvillain’ album.
• Quirky, cinematic, breakbeat-laden exoticism.
Equal parts soft and sorrowful, Myriam Gendron’s stunning Not So Deep As A Well LP became something of a sleeper hit upon its initial release back in 2014. Her debut album shone a warm lamp-light glow upon a curious and captivating new voice in the Quebecois folk world.
Nearly ten years on from its release in her native Canada and America, Not So Deep As A Well gets a European release for the first time this autumn, with a new pressing on the Basin Rock label (Julie Byrne, Aoife Nessa Frances, Trevor Beales, Juni Habel) which features two tracks not included on the original release - ‘Bric-à-brac’ and ‘The Small Hours’ - both written and recorded in the early days of 2014.
Recorded alone in her apartment, with no knowledge of sound engineering, it could almost be a lost artefact, a dust-lined document of a forgotten time and place. Taking the poems of Dorothy Parker, whose work Gendron stumbled upon by chance in a Montreal bookstore, she imbues the words with a graceful, gentle expression, a lingering sense of sorrow always present.
A stark, spellbinding collection, Not So Deep As A Well is raw and unyielding in so many ways we no longer expect to hear. As if sitting in the room with her, Gendron’s voice is cracked and unadorned, quietly forced into a push and pull between
* Seba has established a reputation as one of the finest purveyors of quality Drum & Bass over a distinguished career stretching back more than 25 years. From his early tracks on LTJ Bukem’s ground-breaking label Good Looking Records to his more recent work across Metalheadz,Commercial Suicide,Soul:r,Hospital and his own Secret Operations, Seba’s music retains a timeless appeal, bringing together beats and bass in classic yet inimitable style. Ethereal atmospheres, crisp breaks and sublime bass rhythms are hallmarks of a sound Seba has made his own.
* Oni showcases Seba’s versatility as an artist and shows why as one of Drum & Bass’s truly unique producers,Seba is as relevant and important today as ever, continually inspiring producers and fans alike.
Nice Swan veröffentlicht das neue Album der L.A. Alternative-Rocker Jagged Baptist Club. "Physical Surveillance" handelt davon, alte Gewohnheiten, alte Realitäten und das alte Selbst sterben zu lassen. Es geht darum, vorwärts zu gehen, sich zu entwickeln und zu versuchen, sich auf die Gegenwart zu konzentrieren und in die Zukunft zu blicken. Zu erkennen, dass man eine bessere Version seiner selbst werden kann und dass es in Ordnung ist, das Buch über seine Vergangenheit zu schließen, und zwar auf eine Art und Weise, die die Vergangenheit nicht auslöscht, sie aber zumindest unter Glas legt. Es macht auch einfach richtig Spaß, sich das anzuhören.
Here we have the third LP by the excellent Guy Hamper Trio, featuring James Taylor on Hamond organ, and Guy Hamper on guitar (sometimes called Childish) and what a first-class LP this is! 'Instrument of Evil' in particular has a very eerie vibe. We asked the man himself what was the inspiration for it? G.H. The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP (with Thee Headcoats standing in as rhythm section). A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible- "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. The track also features contributions from Tom Morley (trumpet) and Anna Jordanous (sax) . Both Were a pleasure to work with. My job at the wheel is to basically make a playground and let Jamie, Anna and Tom loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "you're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Other titles are taken from early poetry chapbooks I made in my youth. 'The First Creature is Jealousy' and 'Dog Jaw Woman' being examples. The title 'Incense Rising From a Censer' comes from Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. They are all excellent tracks. I imagine film companies will be queuing up to use many of them.
Emerging from the UK’s vibrant electronic music scene of the early 1990’s, DEFSET has gained recognition for his unique ability to merge elements of dub, ambient, techno, and experimental music, whilst drawing on the acid house, hardcore and jungle of his early career, crafting immersive soundscapes that resonate with listeners on both an emotional and intellectual level.
Following on from his debut album in 2021, DEFSET has spent time developing his sound and on sophomore album ‘Ok, Accept, Continue’ there is more of an organic tone. Blending trip-hop, Gambian kora music and sound system culture through collaborations from MC Spyda and Jally Kebba Susso, DEFSET adds a layer of humanity to the album and attempts to embody the human experience of loss and recovery and it’s accompanying feelings of sadness, anger, and self-medication, as a form of creative expression from grief’s intensity.
DEFSET is the musical moniker of Leo Neelands, a multi-talented artist known for his work in both electronic music and the visual effects industry. With a background in creating stunning visual effects for major Blockbuster films, Neelands brings a cinematic flair to his music, crafting immersive soundscapes that blend atmospheric electronic and techno influences. In addition to his work in music, DEFSET’S background as a VFX Supervisor has allowed him to infuse his music with a distinctive, visual storytelling quality, making him a compelling force in the electronic music landscape.
Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we loved listening to their self-released debut album Trouble In The Shed so much we eventually released it on vinyl for the first time. They now have a second album! Vocalist/drummer Peter very kindly talks us through the (train) tracks_ * "The Trainspotting Song" - Now, as a train geek, I go out filming trains an awful lot, and one thing you can't help noticing whilst out in the wilds of Staffordshire or the moors of Lancashire are a whole load of unnecessary 'Private Land' signs. This song is my response_ * "The Talyllyn Railway" - The history of the Talyllyn Railway is a fascinating one that I've long since wanted to explore, due to its unique nature as the first railway to ever be taken over by volunteers. This is the result! * "The Middleton Railway" - As a volunteer at the Middleton Railway, I had felt that a song needed to be written for quite a while. However, our guitarist Michael, ended up beating me to it! * "A Model World" - It was late one night, and I was lying on my sofa, trying my hardest to gain an ounce of enjoyment from 'Hornby; A Model World.' It was proving quite hard, due to the alarming lack of substance in the programme, so instead I decided that its name was rather good, and could be the basis of a song explaining my 'model world.' And, well, here it is! * "The Fifth Black Five" - This song is dedicated to the railway preservationists of old, who spent countless hours in cold, damp, dreary sidings, all to make sure us future generations would be able to enjoy the smell of a steam train. Thanks guys! * "Case Study" - This song is a commentary on the sensationalisation of disasters, when there's a massive tragedy and people at home just sit in their comfy sofas, watching the news and drinking tea. We know what's going on, but we can just choose to turn off the TV and forget it ever happened and continue with our lives. It also relates to the dehumanisation of those disasters you experience in school, where you have to write essays on someone who's just become homeless. It seems quite heartless sometimes_ * "Loco Motives" - This song is a fictional story of a man's personal struggle with a railway company, and the drastic measures he took to fix them_ * "That Would Never Suit His Grace" - With model railways, you always seem to get a few people who can never be satisfied with a layout or a model - no matter how hard someone's tried, there's always something to improve on, and they're never nice about it either. This song is a reality check for them_ * "Small Black Shunter" - This is our second homage to Zounds - Electrification would never be truly complete without its B-side. And this B-side is the story of a little loco who wanted to see the world. * "Rhydyronen" - Slowly but surely, we're going to pick off all of the stations on the Talyllyn Railway. Starting where Abergynolwyn left off, this is the story of our second favourite station on the TR. * "Typically English Day" - This is an homage to Mark Astronaut, a true punk genius who was gone before his time. Although there were many songs we could've picked to cover, it only seemed right to punk up one of his most popular tracks, and one of the main ones that got me into the Astronauts in the first place - Typically English Day, a heart-wrenching tale of an elderly couple trapped in the middle of a nuclear war, following their last moments before their inevitable demise. * "Just For The Record" - There is too much misinformation in the media these days, and one case I found particularly egregious was the gross misrepresentation of the strikers, who aren't so evil as the media want you to believe_
- A1: Infinity 14:50
- A2: Alpha 04:59
- B1: Multi Pt1 21:52
- C1: Multi Pt2 11:00
- C2: Meta 08:38
- D1: Uni 18:35
"101, MILKY WAY" ist ein wahrer Schatz aus Klaus Schulzes musikalischen Vermächtnis. Es ist eines dieser KS-Werke, die unbedingt der Welt
präsentiert werden müssen und natürlich hat die Entstehungsgeschichte dieses Albums - wie immer - ihre ganz eigene Geschichte:
Alles begann Ende 2008 mit der Anfrage einer deutschen Filmproduktionsfirma, ob Klaus vielleicht die Musik für eine geplante Filmdokumentation
über Computerhacker kreieren würde. Am Ende wurde daraus ein komplettes Studioalbum, aus dem der Regisseur des Dokumentarfilms "Hacker" -
Alex Biedermann - aber nur kleine Teile als sanfte Hintergrundmusik verwenden sollte. Mit "101, MILKY WAY" liegt nun erstmals das Gesamtwerk vor
- ein Gruß aus Klaus' neuer kosmischer Heimat irgendwo im Universum.
Die PBS-Serie Earth Focus befasst sich mit den komplizierten Verbindungen zwischen Südkaliforniens Naturlandschaften und städtischer Entwicklung. Jede Episode erforscht einen bestimmten Ort, darunter den Los Angeles River, das Diablo Canyon Nuclear Power Plant, Joshua Tree National Park und die Mojave Wüste. Der Soundtrack der Serie, komponiert von Elori Saxl, unterstreicht die emotionalen Erzählungen dieser Orte und betont das Zusammenspiel zwischen Menschen und der Natur sowie die Auswirkungen der vom Menschen geschaffenen Umwelt. Dabei ließ sie sich von Künstlern wie Alice Coltrane und Hiroshi Yoshimura inspirieren, Saxl hat die Musik mit digital manipulierten Aufnahmen von Wasser und Wind, analogen Synthesizern, MIDI-Samples und bearbeiteten Holzbläsern gespielt von Stuart Bogie (Klarinette, Bassklarinette, Flöte) kreiert. Diese einzigartige Mischung aus Klängen erinnert an das musikalische Erbe von Los Angeles und an die allgemeine Atmosphäre von Wind, Sonne und südkalifornischer Kultur. Die Musik bezieht sich lose auf die psychedelischen und traumhaften Klänge, die mit der Vergangenheit und Gegenwart von Los Angeles verbunden sind. Sie enthält jedoch einen modernen Twist, der reale und synthetische Elemente vermischt, um das zeitgenössische und zunehmend spürbare der von Menschenhand geschaffenen Landschaft in Los Angeles und den angrenzenden Regionen zu reflektieren.
Über diese beiden Mirwood floorfiller muss man nicht viel sagen, nur beide Tracks auf derselben 45er zu haben, ist ein wahrer Luxus. 'That Beatin' Rhythm' ist der Inbegriff der Northern Soul-Tanzszene und seit nunmehr 50 Jahren ein echter Hit. Die Instrumentalversion (die dem eigentlichen Sänger der A-Seite zugeschrieben wird) war damals ebenso populär, wurde in den letzten Jahren jedoch etwas vernachlässigt - die Gesangsversion wird von den meisten DJs gespielt.
80 Page Coffee Table Book
The perfect-bound 80-page coffee table book delves into our two decades of history through in-depth interviews with our founders Friction & K-Tee, as well as a range of artists past and present. Accompanied by beautiful full-colour photography from the archives throughout, this book is an essential for Shogun fans and D&B enthusiasts worldwide.
19-track vinyl release for all the studio recordings made by the original line-up of Oi!
legends The 4 Skins. Includes a previously unreleased version of ‘A.C.A.B.’ originally
recorded for ‘Oi! The Album’.
Also features the band’s contributions to the ‘Strength Thru Oi!’ and ‘Carry On Oi!’
albums as well as their No.4 Independent Chart hit single ‘One Law For Them’.
Pressed in a gatefold sleeve that features all the lyrics, press clippings from the era
plus previously unpublished photos of the band. Initial pressing of 1000 on coloured
vinyl
Exquisitely compiled by Discrepant head honcho Gonçalo F. Cardoso from three tapes released earlier this year by the tireless mind-body of Spencer Clark through his own Pacific City Sound Visions, 'This Year In Coconuts Vol. 2' is another revelation into the deeply personal soundworld of this true voyager of both ancient, present and forthcoming times. Coming from a truly singular artist, capable of conveying multiple visions into a labyrinthine-esque mythology all of his own, these seven tracks feel as much part of their original setting as connected pieces from this never ending and puzzling netherworld.
Dedicated to the Temple of Isis in Pompei and opening sides A and B, the two tracks from 'Tempio d'Iside' set up a scenario not far from a dream version of the Temple itself, made from crystal clear synth-lines and levitating ambiences, like drifting into ancient memories from days to come. Making up about half of the compilation, the four tracks from 'Kowloon Spider Temple' drip into a feverish mosaic of Clark's by now trademarked cascading rhythms, unhinged alien-vocal samples, phantasmic textures and sparkling synth harmonies projecting a catchy hypnotic oblivion filled with intrigue. The sole title track from 'From the Caves and Jungles of Apulia' tangentially reports back to some lower-fi recordings of the past, with its murkier sound inducing the feeling of willing confinement within such caves and jungles. A brilliant Year in Coconuts, indeed.
Mastered by Rasha
This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:
Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….




















